People, it seems, are struggling with Westworld.
While there is some evidence to suggest a drop in viewership across Season 2 of HBO’s new televisual powerhouse, the conversation is less about the threat of Westworld coming to an end—particularly given Season 3 is already a certainty—but rather why certain people are considering checking out of Jonathan & Lisa-Joy Nolan’s magnum opus.
The main reason appears to be how Season 2 has structured its narrative, or more appropriately ‘narratives’. Season 1 of Westworld left ambiguity between time periods given the mystery of the Man in Black, allowing the audience to question at what point certain storylines involving characters in the park was taking place, but Season 2 has thrown the storytelling ball up in the air to continue the narrative in a fascinating, non-linear fashion. It’s hard to think of a TV show which has experimented so resolutely with time, where pieces fit together in a convoluted mosaic of a tale. Even Lost at its most twisty, deploying ‘snakes in the mailbox’, can’t reach Westworld Season 2 for such complicated plot entanglement.
For some, however, are the writers simply going too far?
When did we become the bad guys?
When I say we, I mean it in the Royal sense. A collective *we* referring to modern society. Humanity. For decades in cinema, television and half a dozen other entertainment mediums, we were the good guys. Human beings, men and women, we understood right from wrong and saved the world from monsters – demonic, alien and who knows what all. In the last few years, particularly, something has changed. Westworld is just the latest returning show in a line of hugely popular TV shows that make this very clear.
We have become the monsters we always imagined we were fighting against.
Westworld is all about the relationship between man and machine. In a near-futuristic theme park setting, where android ‘hosts’ play out narratives for human gamers (with money) so they can indulge their basest desires, the first season of Jonathan Nolan & Lisa Joy’s adaptation of Michael Crichton’s original 1970’s movie was all about the confluence between machine and consciousness, tied up with the moral treatment of what are considered hardware, but steadily come to realise they are much much more. Westworld plays out as a high-concept genre thriller in the making, with philosophical overtones, but the message within Nolan & Joy’s take on Crichton’s cautionary tale is clear: we are *not* the heroes of this story.